ONE Life TO LIVE

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Even though ABC had achieved moderate success with GENERAL HOSPITAL and DARK SHADOWS, it hadn’t fared as well as it would have liked in the daytime drama arena. With a string of shows that had met an early demise (THE YOUNG MARRIEDS, NEVER TOO YOUNG and A TIME FOR US each lasting under 3 years a piece) the network was desperate for a new hit.

Agnes Nixon, well-known for her stellar track record in regards to this particular genre, was contacted by executives at ABC in early 1967 about creating a new program for them. She’d been apprenticing under legendary soap pioneer Irna Phillips for over a decade and had assisted Phillips with bringing her most famous shows to television: THE GUIDING LIGHT (from radio to CBS) and AS THE WORLD TURNS. In 1965, the two women created ANOTHER WORLD for NBC. Under Philips' tutelage, Agnes had served as head writer on all three programs. She also co-created SEARCH FOR TOMORROW with Roy Windsor.

By the time she was approached by ABC, Agnes Nixon was starting to step out on her own. She created a story bible that eventually evolved into ONE LIFE TO LIVE. Since its premiere on July 15, 1968, the program has been lauded for its groundbreaking exploration of social issues, award-winning performances and unique storylines. Under the careful nurturing of its’ creator, the show was one of the first daytime dramas to depict people from all walks of life.

Nixon purposely set about to inject social themes into her work as a way to “hold a mirror" up to society as a way to reflect the changing face of modern life. Her work on the show brought about a breakthrough which transported the soap opera genre from the age of innocence and prudery accompanied by melodramatic organ music, into a controversial new world of relevance and physical love. Stories in those early years revolved around premarital sex, drug addiction, racism and assorted ethnic types trying to integrate into the white-bread waspiness of soap land.

In the beginning, the soap focused on the intermingling and romances between a core group of residents living in the fictional Philadelphia suburb of Llanview, PA. The central families being the wealthy Lords; the Irish-American, working-class Rileys; the one-generation-up-from-poverty Polish-American Woleks; the African-American Grays and Halls; and the Siegels, one of Llanview’s – and daytime TV’s – first Jewish families.

ONE LIFE TO LIVE’s first major storyline was a groundbreaking event that focused on a light-skinned black woman’s struggle and heartache to pass for white. The show also has the distinction of featuring the first interracial love story on daytime television. It was one of only two daytime dramas to first feature black characters in major (i.e. non-domestic help) roles.

Characteristic of Nixon’s soaps, ONE LIFE TO LIVE hooked young people and men, not just housewives who have traditionally made up the majority of soap opera viewership. The focus on young adult characters included not only romance—and sex—but also their growing pains. In an effort to reflect the wealth and greed of the Republican-dominated 1980’s, the Buchanan’s – a DALLAS-style oil family -- were brought onto the show’s canvas. By the more Democratic 1990’s, however, interracial and Hispanic families had become central characters.

Typical of all soap operas, the show has had it's fair share of outlandish storylines (i.e. time travel; out-of-body experiences; the fabled city of Eternia) and over-the-top characters (Marco Dane and Alex Olanov) but all this zaniness has been balanced with realistic representations of mental illness, Cultism, Incest, domestic abuse, international espionage, and lovers who beat the odds to be together.

The show received mass critical acclaim for its 1992 homophobia storyline, which captured national headlines when it introduced the character of a gay teen (played by future Hollywood hunk, Ryan Phillipie) and culminated with the emotional display of the Names Project AIDS Memorial Quilt. In 1994, the show received equally high praise and garnered four Daytime Emmy Awards, including one for Best Writing, for its riveting fraternity gang rape storyline.

Currently, two of the show’s most recognized cast members are Emmy-Award™ winners Erika Slezak and and Robin Strasser. Ironically, both woman were not the first actresses to play their respective roles.

The role of Victoria Lord was originally portrayed by actress-turned-writer Gillian Spencer. Judith Barcroft held the role briefly before Slezak took over, putting her unique and powerful touch on the character since 1971.

Dorian Cramer has been portrayed by four actresses: Nancy Pinkerton originated the role, followed by Claire Mallis. Robin Strasser took over in 1979. She left the show to pursue primetime projects in 1987. Elaine Princi (an almost dead ringer for Strasser) held the role for three years, before Strasser resumed the part in 1993.

Having been on the air for 35 years and counting, ONE LIFE TO LIVE weaves stories filled with suspense, passion and surprises that continue to present compelling and contemporary drama that keeps millions of viewers coming back for more.

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In its’ astoundingly long run on ABC’s daytime line-up, ONE LIFE TO LIVE has gone through numerous opening sequence changes. Listed here is a rundown of them all:

Opening Sequence #1

(July 1968 – April 1975)

Theme song “One Life to Live” composed by Charles F. Paul

ONE LIFE TO LIVE’s original opening sequence was a 17 second  close-up shot of sparks from a flame in a fireplace as the show’s title came from the top

of the screen. It was a rather simple (and cheap) concept that stuck with the show for its’ first seven years.

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Opening Sequence #2

(April 1975 – December 1979)

Theme song “O.L.T.L.” aka “One Life to Live” composed by Jack Urbont

A new opening sequence for the show was created in mid-1975. While staying true to the show’s

“message” (even more so than the original opening sequence) this new one featured a slow-tracking

shot of a mountaintop sunrise, with the show’s title appearing at the bottom of the screen under the

now fully-risen sun.

A brass and horn dominated orchestral arrangement by Jack Urbont accompanied this new opening.

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Opening Sequence #3

(January 1980 – December 14, 1984)

Theme song [re-arrangement] “O.L.T.L.” aka “One Life to Live” composed by Jack Urbont

Around the beginning of 1980, the opening sequence was updated with a longer, brighter version of

the already famous “sunrise” concept. It begins with a more distant view of the sun rising over a

mountaintop, followed by shots of birds flying, then finally a striking blue sky with clouds. The title appears,

This sequence featured a re-arrangement of Jack Urbont’s original overly-orchestrated composition. The new

version begins with a harmonica taking up the melody over the sunrise portion of the footage, followed by a slow

For many years, the show would be best remembered for this simplistic, yet visually appealing sequence.

Opening Sequence #4

(December 17, 1984 – December 30, 1991)

Theme song “One Life To Live (Opening & Closing)” composed by Dave Grusin

Lyrics written by Charles Randolph Goodrum

Performed by Peabo Bryson

Now in its’ sixteenth year on the air, an attempt was made to reinvigorate the show. The first of many significant steps to cosmetically overhaul the show’s look and feel began with the introduction of a new opening sequence that premiered on Monday, December 17, 1984.

Gone was the “sunrise” concept of early years. This new opening starts up with a shot of a city (Harrisburg, PA and vicinity) that was meant to represent the show’s setting. As it progresses, transparent “glamour shots” of each contract actor is superimposed over shots of buildings, landmarks and sights of the fictional Llanview, PA.

The final shot features the majority (ie: the most popular character’s) photos being arranged against a skyscraper backdrop, as the show’s title appears, one word at a time.

The entire sequence was tightly edited to fit with a new, upbeat, synthesized theme by Dave Grusin. In September 1985, R&B artist Peabo Bryson

From this point on, this vocal version was used occasionally over the end credits. By 1986, it was used for the opening. For many long-time fans, this

opening would be synonymous with the show and today is still the most fondly-remembered sequence in the show’s long history.

Here’s what you do when you don’t find the rainbow’s end—this time
Here’s where you go when it looks like the rain won’t end—don’t cry
I’ll give you tomorrow
Let me be the one to share it with
And each day that follows
’Cause we only have ONE LIFE TO LIVE

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Theme song “One Life To Live Theme (Opening & Closing)” composed by Lee Holdridge

In an effort to redefine the show for the 1990’s, a new, more stylized (albeit generic) opening sequence was unveiled. Emphasizing the typical

elements of soap opera love affairs, it featured (in under a minute) romantic bliss, betrayal, pain, jealousy and finally, eternal happiness.

The theme music by Lee Holdridge was in a New Age-influenced arrangement. Starting out with a quiet, synthesized melody, it swells into a lush-sounding orchestrated climax.

Opening Sequence #6

(November 20, 1995 – June 11, 2004)

Theme song “One Life To Live Theme (Opening & Closing)” composed by Lee Holdridge / David Nichtern / Kevin D. Bents

With digital technology making the creation of a show’s opening sequence much easier (and cheaper) than ever before, a new opening -- to commemorate the show’s 7000^th episode – was unveiled in November 1995.

The result was an attractively-created and busy opening sequence that, somewhat reminiscent of the show’s most popular opening, again featured the faces of the cast superimposed over scenes of Llanview. The slick, fast-cutting city / landmark background images were overlaid with promotional and episodic footage of each contract actor.

Taking a cue from ALL MY CHILDREN (another ABC soap and Agnes Nixon creation) two different rotating sequences were created to feature each member of the huge cast. Only Erica Sleazak (Viki) and Rogert Howarth (Todd) appeared on both sequences.

The theme song showcased a driving drum beat which was carried by high-pitched electric guitars. It was composed by the writer of the previous theme -- Lee Holdridge and co-written by David Nichtern and Kevin D. Bents. During the Holiday Season, a quieter version, with a female voice singling along opera-style was shown.

In 2002, a new network-imposed addition was made to each of the ABC daytime dramas opening credits: each character’s name began showing up alongside the actor who portrayed the role.

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Theme song [remix] "One Life To Live (opening & Closing)" composed by Lee Holdridge / David Nichtern / Kevin D. Bents

I know that the previous opening was almost nine years old, but I'm of the mind-set of "if it ain't broke, don't fix it." It's going to take awhile for this new opening to grow on me. Initially, I'm not impressed but time will tell.

It features the show’s cast in fast cutting live-action “glamour poses.” Background images of the fictional Llanview (presumably reused footage from the previous opening), the new OLTL logo and an over abundance of geometric shapes pop up throughout the segment.

Again, two rotating sequences have been created; Erika Slezak (Viki) and Kamar de los Reyes (Antonio) are the only cast members to appear on both.

It features a remix of the previous theme by Lee Holdridge, David Nichtern and Kevin D. Bents.

For whatever reason, ABC has a strange need to make all its shows look alike. This new opening is very, very similar to ALL MY CHILDREN’s

and when GENERAL HOSPITAL’s new opening premiers on June 28, I’m sure it will have the same “packaged” look to it.

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Agnes Nixon

Endearingly termed and rightfully earned, Agnes Nixon – with her distinct and impressive contributions to the soap opera genre -- has forever changed the face of contemporary daytime drama. While her long association with ABC began in 1968, she has worked for all three major networks, creating soap magic since the 1950’s.

Born in Chicago, Agnes Nixon was the only child of Harry and Agnes Eckhardt, whose marriage lasted only a short time, ending just three months after their daughter was born. Along with her mother, young Agnes moved to Nashville -- her mother's hometown. As a form of escape during this lonely period, Agnes created elaborate stories for "characters" she would cut out of magazine ads and newspaper comic strips.

She attended Northwestern in Chicago and got reacquainted with her father. She started out acting, then turned to writing, hoping to turn the craft into a career. Ironically, it was her father's resistance against this career choice that lead Agnes to her destiny. Harry Nixon was set to groom her to take over his funeral burial garment business but young Agnes had other ideas. He sent Agnes to New York City to meet with Irna Phillips. Harry Eckhardt’s hope was that the pioneering soap maven would successfully convey to Agnes how rough it could be for a woman to make it as a writer.

As it turns out, Phillips was more than impressed with Agnes’ writing, brining the young woman on board as her protégé. Nixon’s first job was writing for Phillips’ WOMAN IN WHITE. In 1951, Agnes’ professional and personal lives began to skyrocket. Along with Roy Windsor, she created SEARCH FOR TOMORROW, and along with her mentor, began developing a television version of Phillips’ radio soap opera GUIDING LIGHT.

What marked this times most importantly, was that Agnes met Robert Nixon, a young Chrysler executive who shared her dream of having a family. Their marriage would last 46 years, until his death in 1997.

In 1956, Agnes and Irna developed AS THE WORLD TURNS (for which Agnes went without co-creator credit) and Agnes was handed head writing chores of the program. Nine years later, Phillips and Nixon created ANOTHER WORLD -- as a proposed spin-off of AS THE WORLD TURNS -- but when CBS declined to air the program (due to a lack to airtime), NBC was quick to pick it up. It was a staple of the peacock network's daytime line-up for thirty-five years.

Just two short years into it's run, the program was on the verge of cancellation. Agnes came on as head writer, bringing the show from a floundering position in the ratings, to the number two spot. She created the character of Rachel Davis, a young, misguided schemer who would go on to become the show's heroine. Although made famous by the talented Victoria Wyndam, the role was originally played by Robin Strasser (Dorian Cramer from OLTL).

At about this same time, Agnes began to step out on her own and pitched Proctor & Gamble her idea for a new spop she'd created, titled ALL MY CHILDREN. However, she quickly shelved her sample scripts after she learned it was rejected, due to a shortage of airtime on both CBS and NBC. Their loss would prove to be ABC’s gain.

On the lookout for a new drama to add to its daytime line-up, ABC invited Nixon to create a new drama for them. She came up with ONE LIFE TO LIVE, which proved to be a huge success for both Agnes Nixon and the network. Not satisfied in having just one daytime hit under her belt, Nixon revisited her semi-autobiographical dream project, ALL MY CHILDREN just two years later.

In 1981, she created the epic, generation-spanning mini-series, THE MANIONS OF AMERICA, starring Kate Mulgrew (Capt. Janeway from STAR TREK: VOYAGER) and Pierce Brosnan (REMINGTON STEELE and the BOND films). Two years later, Nixon collaborated with Douglas Marland to create LOVING, her third soap for ABC. By 1995, that show was suffering from low ratings, so Nixon agreed to oversee LOVING’s transformation into the trendy -- though short-lived – THE CITY, which featured the first trans-gendered main character in daytime television.

With the exception of THE CITY, all of Nixon's shows for ABC are all set in neighboring suburbs of Philadelphia: ONE LIFE TO LIVE (Llanview, PA); ALL MY CHILDREN (Pine Valley, PA) and LOVING (Coronth, PA).

After going into semi-retirement in the 1990’s, ABC persuaded Nixon to return as Executive Story Consultant of ALL MY CHILDREN in order to revive the show’s sagging ratings and bring it back to its roots.

Agnes Nixon’s extraordinary talent, impressive experience and unwavering passion for the genre have gone unrivaled. ABC considers her to be a valuable resource. On October 17, 2000 ABC Daytime President Angela Shapiro announced that Nixon had been given the title of Network Story Consultant for ABC Daytime, overseeing all of the network’s daytime dramas.